For years, Universal studios treated their classic horror films as
something of an embarrassment. Sure, they made money whenever they were
reissued, including on video, but the studio chiefs seemed to feel that
they had risen above these classics -- which had saved the studio time
and time again.

But recently, someone or something changed their minds. In 1999, a
big-scale remake of The Mummy was released, and did great business. But
more importantly for film buffs, an ambitious program of DVD releases
was begun. The best available prints were used (though in some cases
this didn't mean a great print), supplementary materials were
unearthed, documentaries were produced, and the film was provided with
interpretive narration. The results have been outstanding, the best DVD
series so far, this will remain the standard by which any other such
attempts will be judged (and most likely found wanting).

For example, with Frankenstein, David J. Skal, the film scholar behind
these DVD releases, had the original film restored. Very strong stuff
for 1931, it ran into censor problems upon its initial release, and
when reissued in the mid-30s, several scenes were cut and discarded
altogether. Earlier video releases have included these scenes, but Skal
went further, and found a key line ("In the name of God, I know what
it's like to BE God!") that was missing for many years was restored.
The print itself is by very far the best available on video; the film
looks like it could have been shot last week: it's crisp, sharp, with
strong contrasts and pristine clarity.

The narration is by film historian Rudy Behlmer, and while there are a
few odd glitches (the repetition of a few sentences, for example), it's
rich with information about Mary Shelley's original novel, the stage
adaptations, and the making of this movie. The documentary, hosted by
Skal himself, features many experts in the field, including Forrest J
Ackerman, Bob Madison, Don Glut and Rick Baker, whose comments on Jack
Pierce's magnificent makeup for the Monster are particularly
worthwhile. There's also an extensive selection of stills, production
notes and trailers.

This DVD release of Frankenstein set new standards -- which Skal has
lived up to in the subsequent releases of the original The Mummy, Bride
of Frankenstein and The Wolf Man, with more to come.

The movie itself is worthy of all this. In the 1930s, horror movies
were made for adults, not teenagers, and Frankenstein is grim,
purposeful and intelligent. The dialog is eloquent, particularly in a
speech evidently written by director James Whale, and while the film is
unquestionably dated, it is also unquestionably a classic, one of the
best horror films ever made. (But Bride of Frankenstein is even
better.) Colin Clive, as Henry Frankenstein, is at once sensitive and
heedless, the very image of a scientist crossing forbidden barriers.
But of course, the actor who was made a star by this film was Boris
Karloff, whose performance as the Monster is ferocious, touching,
amusing, child-like and terrifying. To Karloff's credit, he never
repudiated his beginnings, and to the end of his long life, always
considered the Monster his "best friend."

Don't be misled: this is not a "campy" movie at all; unlike Dracula,
though the movie is definitely a product of its period, there's a
timeless quality to Frankenstein. We follow Henry Frankenstein and his
assistant Fritz (Dwight Frye) as they steal bodies to shape into a man
that Frankenstein hopes to bring to life. His fiancee Elizabeth (Mae
Clarke) is troubled, turning to her former beau Victor (John Boles) for
help. In turn, they seek the advice of Henry's mentor, Dr. Waldman
(Edward Van Sloan, also in Dracula), and the three visit Henry in his
laboratory, housed in an old watchtower. This three "very sane
spectators" watch as Frankenstein sends his pieced-together body up
into the lightning while Kenneth Strickfaden's wonderful machinery
crackles and sparks around them.

The Monster comes to life -- but unknown to Henry, the brain Fritz stole from Waldman's school was that of a madman....

There's something haunting about Frankenstein, even more than Bride, a
richer, more mature film. Whale's famous arch humor doesn't turn up
much here (though hunchbacked Fritz does fastidiously pull up a sock at
one point); instead, he's intent on telling a powerful story in as
compelling and frightening a manner as possible. It's a movie created
by a talented team of filmmakers, and there were precedents for some of
what we see. But the movie transcends these precedents; it even
transcends itself. The idea of the Monster killing a child out of an
appreciation of beauty, of Elizabeth in her silvery white gown menaced
by the Monster, clad in black; the final confrontation in a burning
windmill -- all these seem to have come out of a kind of Jungian racial
memory, not the mere minds of men. Bride of Frankenstein is a better
movie, maybe the best horror movie of all time, but Frankenstein has
its own dark power. Thanks to Universal Home Video, his fascinating
performance and James Whale's magnificent film haven't looked this good
in decades. And thanks to David J. Skal, the supplementary material is
respectful, and worthy, of Frankenstein itself.